Bright Tangerine was showing their Prodigy Rain Deflector at Cinegear 2019 in Los Angeles. The Prodigy doesn’t use any moving or spinning parts like a traditional rain spinner. Instead, it uses a compressor that pushes air down through a hose and then over a special piece of glass. The air from the compressor is forced … Continued
At Cinegear 2019, Panavision was showing their LCND (Liquid Crystal ND). Last year at Cine Gear they were showing a very early prototype of the LCND, but now they have a finished product that will be available through Panavision rental in the next few months. The LCND is an electronic ND that uses an electrical … Continued
The Canon Sumire lenses have a new competitor in the market.
The MasterBuilt Vista-M lenses take a nuanced approach to high-end cinema prime lenses. They come in a 6-lens set, with focal lengths at 18, 25, 35, 50, 85, 105, and 135mm, all at a constant T1.4.
The lenses are specifically made for full frame coverage. Most of the lenses also cover up to the Alexa 65’s sensor size. What makes these lenses special is their proprietary “prescription” that gives the lens tack sharp centers but has a very organic falloff towards the edges and corners of the image.
The overall look of the lens set is supposed to be reminiscent of Canon’s K-35 line of lenses (including the lens flares) but with the added reliability and durability of modern mechanics and optical design. All of the lenses are very similar in weight, making lens swaps on Steadicam and gimbal setups a breeze. The housing of the lenses will maintain the polished look, rather than the conventional matte-black colorway (much like the old Panavision Panatar lenses).
The Vazen 40mm t/2 1.8X Anamorphic Prime is claimed to be the world’s first 1.8X anamorphic prime designed for Micro Four Thirds cameras with 4:3 sensors. The 1.8x squeeze produces a 2.39:1 aspect ratio when used with 4:3 M43 sensors like the Panasonic GH5 and Z-cam E2. The lens features a T2 aperture and the breathing looked … Continued
These films offer more than franchise jump scares or those films with one giant twist that are pointless on second viewing. They offer redeeming qualities like great characters, great stories, and great plot. There are probably films that scared you more, or grossed you out more, but these ones give you the scares and a whole lot more.
10. Cabin in the Woods (2011, Drew Goddard)
This film has everything. Maybe too much of everything, but it’s so damn entertaining. If you like the Evil Dead, you get some Evil Dead. You like Hellraiser, you get some Hellraiser. You like Cube, you get Cube. You like any Whedon, you get lots of Whedon. You like monster movies, you get all of the monster movies. Gore, scares, laughs and a final girl. Everything!
From the minds of Joss Whedon (Buffy the Vampire Slayer) and Drew Goddard (Cloverfield), we get a part homage, part satire, masterpiece. Five college kids (including a young Chris Hemsworth) head towards our title, and the most cliché of premisses.
Once there we find that they are being manipulated by scientists (led by the great Richard Jenkins) in a secret lab facility below the cabin. One by one they are targeted by classic horror movie ghouls and merman, as the film descends into absolute madness and a battle for humankind.
9. Don’t Breathe (2016, Fede Alvarez)
This film played with our senses long before A Quiet Place made billions playing on the same thing – Hush did a pretty good job of it too – But this is the pick of the bunch. It’s a simple yet wonderful premise, with producer/director team, Sam Raimi and Fede Alvarez (best known for his admirable Evil Dead remake), delivering in spades.
Three young thieves – Money (Dylan Minnette), Rocky (fellow Evil Dead alumni, Jane Levy), and Alex (Daniel Zovatto) plan to rob a Blind Man (a chilling performance from acclaimed stage actor, Stephen Lang, ultimately best known for Avatar), who is stashing money which he won in a settlement over his daughter’s death.
It’s an easy score on paper, but the Blind Man has other plans. This house is rigged to keep people in as much as out and the Vietnam Vet and his beloved (and terrifying) dog are no pushovers.
The tide turns quickly, and the film becomes the most flipped-on-its-head home invasion film you could ever imagine – Not to mention as re-watchable as Home Alone! The film is a master-class in building tension, with incredible scare sequences, right up until the brutal twist and ending.
8. You’re Next (2011, Adam Wingard)
Like its catchy and re-played song, ‘Looking for the Magic’ by Dwight Twilley, this film and it’s bad-ass female lead can be re-visited as much as Christmas Vacation on the holidays, or 50 Days of Summer after a break-up.
Directed by Adam Wingard, and stacked with a bunch of indie horror greats in the cast, including Barbara Crampton, the film follows an estranged family, gathering for their parent’s anniversary. The family is full of deplorable characters, which just makes the carnage more enjoyable, as they are attacked by masked intruders.
The only likeable character is Erin (Sharni Vinson), the new Australian girlfriend of a family member, who happens to be some Sarah Connor-like, survivalist. Obviously what ensues is greatly satisfying, much like Kevin dishing it out to the wet bandits in Home Alone. This film will have you cheering like it’s the Super Bowl.
Seems like there is an on-going Home Alone theme running through this list, possibly because that film does everything right. This film takes a lot of the same winning ingredients and drags us back much the same. It’s not perfect, but sometimes you don’t want perfect, you just want to see a girl give out an ass-whooping on some masked intruders.
7. High Tension (2003, Alexandre Aja)
There have been some truly great French horror films this century. Not a lot that you really want to re-visit though… Inside. Martyrs. Raw. Trouble Every Day. Sheitan. All brilliant, and all unpleasant. Good luck pressing play again once you have seen them! Which brings us to the most controversial and divisive pick of the list, High Tension.
Here we have the only slasher film on the list, and one of the best from this century. An early work from director, Alexandre Aja (Mirrors), this is one of the most simple and scary films of recent times. You will be digging deep to find kind reviews for it, but on scares alone, this rates as intense and brutal as they come.
Two young women, Alex (Maiwenn) and Marie (Cecile De France), travel to Alex’s family home in the French countryside for the weekend, and are hunted by a hulking madman who bludgeons her family to death. Very simple!
This would be one of the greatest slasher films, if it weren’t for it’s divisive ending. There is a twist. It’s a big one. Does it work? That’s for you to decide, but you will have a nasty, thrilling time getting there. It’s light on dialogue but make sure you find the original, non-dubbed version.
6. Thirst (2009, Park Chan-Wook)
The most visually stunning film on the list. Thirst is just so overwhelming on first viewing that it needs a revisit. You find yourself missing things while recovering from one WTF moment to the next, plus vampires are just so fascinating and timeless, much like this film.
Directed by Park Chan-Wook after his incredible vengeance trilogy, comes an epic vampire film. The film follows a priest (Song Kang-ho) who is resurrected as a vampire after an unfortunate blood transfusion. Fighting his new instincts, he manages to get by for most part by stealing blood from a hospital, prior to meeting the younger wife of an old friend, in a more unfortunate situation than himself.
The film quickly descends into sometimes hilarious, but mostly bloody madness, as the priest attempts to keep the newly infected woman in check – Something that appears beyond his capabilities – She has no such trouble adapting to her new bloody lifestyle.
The Panasonic S1H boasts full frame, $4000, 6K 3:2, 14+ stops of dynamic range.
Caught your attention yet? Watch the video for all the juicy details.
Panasonic is taking a stab at the high-end prosumer/professional owner/operator with the S1H.
Here are the highlights:
- L Mount lens mounting system
- 6K 3:2 up to 24p (a lot like open-gate), 5.9K 16:9 up to 30p
- 4K 10bit internal up to 30p, 4K 10bit external (via HDMI) up to 60p, V-Gamut (same look as Panasonic’s EVA-1 or the Panasonic VariCam, currently 39% off)
- Unlimited recording time
- 14+ stops of dynamic range
Check out the sample footage:
What is 6K good for?
Just like 4K for HD productions, it allows for downsampling and video resizing in a smaller resolution timeline. Now, with 6K, filmmakers can get similar results in 4K that they previously were only able to get in HD.
Accessories manufacturer Wooden Camera has had several iterations of their popular directors monitor cage over the years and they just debuted their third version of the cage at Cine Gear 2019. We had a chance to give the new cage a try with the help of Wooden Camera President, Ryan Schorman. Details below:
With manufactures like SmallHD adding handles to many of their Focus and Bolt lines of monitors, it is easy to lose sight of the fact that many companies (notably Convergent Design and Atomos) still need suitable rigging to make their monitors easy to handle. The new Director’s Monitor Cage v3 works with any monitor up-to 9 inches (measured diagonally) and also leaves room for several wireless video receivers behind a handy swing away back battery panel.
Wooden Camera has moved away from the wooden handles of the v2 and towards a more maneuverable carbon fiber handle design (image below) with the v3. Perhaps a name change to Carbon Fiber Camera is in the works? Either way, the new handles are a welcome change, though perhaps less stylish than their predecessors.
The single monitor version of the cage includes a wide variety of accessories such as:
- Offset Adapters
- Lots of 1/4-20 Mounting Points
- Sunshade (easily attached with a snap button system)
- Gold Mount/V-Mount Screws
- Neck Strap
- Convergent Design Mounting Screws
The Director’s Monitor Cage v3 also comes in a dual monitor configuration, but that is slightly more expensive ($599) versus the single monitor version ($299). This obviously isn’t a full field review, but at first glance, this seems like a solid option for those with older SmallHD monitors that don’t include handles and an integrated video receiver or for those using monitors that require a bit of rigging.
What do you think? Will the Director’s Monitor Cage v3 find a space in your kit? Is it worth upgrading from the v3? Comment below!
The post Hands on with Wooden Camera Director’s Monitor Cage V3 appeared first on cinema5D.
We are all photographers because, well, we like taking pictures. But just because we like taking photos doesn’t always mean we should be taking them. When is it time to put the camera away?
In this article you will learn how to quickly improve the look of your video footage and speed up your color grading by using a corrective lut which is also know as a look up table.
ND filters range from useful in landscape photography to bordering on necessary for filmmakers to keep control of your aperture while under any lighting condition. This new ND filter from Panavision is special – it is electronic and fits into a standard matte box.
On Wednesday, authorities announced that a man had been officially charged on May 14th with violating two separate Temporary Flight Restriction (TFR) areas during NFL football matches. Sacramento resident Tracy Michael Mapes, 56, is accused of flying his drone over a San Francisco 49ers game at Levi’s Stadium and dropping anti-media leaflets into the crowd on November 26, 2017. He is also accused of the same violation during a Raiders game at Oakland Stadium later that day.
Knowingly violating a TFR can result in serious legal and financial consequences. In this case, Mapes could face up to a year in prison and a $100,000 fine if convicted. TFRs are used by the Federal Aviation Administration (FAA) to restrict aircraft operations within designated areas. The restrictions help facilitate national security measures. Natural disasters, presidential and other high-ranking official visits, and professional sporting events that are typically congested with people warrant TFRs.
Mapes has not publicly commented on the matter. According to police, his drone released leaflets containing content about free speech and personal views on television being corrupt. Most of the leaflets didn’t make it into the stadium or crowd at the 49ers game, due to high winds and rain. No one was injured.
Surveillance cameras were able to identify the operator and record his license plate number as he drove away from Levi’s Stadium in Santa Clara. Detectives alerted their counterparts in Oakland ahead of the Raiders game. Mapes released leaflets into Oakland Coliseum and, once again, no one was affected. Officers located his vehicle as he was leaving, cited him with misdemeanor charges, and released him.
|Checking a service such as SkyVector is highly recommended before embarking on a drone flight. Flying in any TFR can result in severe consequences.|
TFRs begin several hours before the start of a professional game or other major event and continue for hours after it concludes. It is important for remote pilots to check Notices to Airmen (NOTAM) or SkyVector before embarking on a flight. Some prefer to use an Unmanned Aircraft Systems (UAS) application such as Kittyhawk, Skyward, or AirMap.
At the grand opening of Sony’s Digital Media Production Center (DMPC), the industry’s most complete capture to display facility, Sony Electronics connected users and creators to deliver the artists’ intent by driving hands-on experiences with the latest technology in Cinema. The venue hosted a press conference on Thursday, May30th, to reveal technology advancements with its […]
The Advanced Television Systems Committee honored Adam Goldberg as the 2019 recipient of the organization’s highest technical honor, the Bernard J. Lechner Outstanding Contributor Award. The award presentation capped the two-day 2019 ATSC Next Gen TV Conference at the Ronald Reagan International Trade Center. Goldberg chairs the S36 Specialist Group on ATSC 3.0 Security, where […]
Blackmagic Design has announced that its Blackmagic Micro Cinema Camera was used in the filming of key action sequences on Marvel Studios’ Captain Marvel. The twenty first installment in the Marvel Cinematic Universe was lensed by cinematographer Ben Davis, BSC (Avengers: Age of Ultron, Doctor Strange and Three Billboards Outside Ebbing, Missouri). The Blackmagic Micro Cinema […]
I saw a request on Facebook or Twitter for a tutorial about the Avid Mixer. What does LIVE MODE do?
That got me thinking that I miss having a control device – like an Avid Artist Mix. I’d done an old tutorial showing how the iPad could control the color trackballs on some color grading software, and thought that there must be something like that for audio.
Well, there is. You can download the PT Control (ProTools) app from the iPad/iTunes App store and connect it via WiFi to your Avid Media Composer and – using the multi-touch capabilities of the iPad – control faders on an iPad that control levels inside of Avid’s audio mixer.
Let me know what you think.
The post How to control Avid Media Composer’s Audio Mixer in real-time with an iPad appeared first on ProVideo Coalition.
A lot of my work has light placed in very precise spots, just over the eyes, or the lips, or just on one spot on the face. I often get asked how I do it, and instead of just saying the product, I thought I should go more in depth and talk about the ins and outs of how to get the most out of Cinefoil.
Current and new S1 users will get over 14 stops of dynamic range, 4:2:2 10-bit internal 4K recording, and much more.
Panasonic just announced the DMW-SFU2 software upgrade key for its S1 camera model and the new features are certainly exciting for new and existing S1 shooters.
Panasonic has introduced two new toys for S1 and S1H shooters: 1.4x and 2.0x teleconverters
The Lumix S 1.4x and 2.0x teleconverters have just been unveiled by Panasonic.
Both the DMW-STC14 1.4x and DMW-STC20 2x will certainly be a welcomed piece of kit for those shooting on Panasonic’s full frame mirrorless cameras, including the S1, S1R, and the newly announced 6K S1H.
They can be attached to the very popular LUMIX S PRO 70-200mm F4 O.I.S lens, extending its max zoom range to 400mm (with the 2.0x teleconverter). They also work with the upcoming 70-200mm F 2.8 and 24-70mm F 2.8 lenses, which are scheduled to be released in Winter 2019.